Friday 25th February 2022
This was the first event in this year’s calendar. Coronavirus has been making face to face meetings difficult. It seemed awfully unfortunate that severe stormy weather last week prevented the society from getting together once again. So, it was heartening to have 14 members attend the Members’ Critique this week. Peter Tuitt and John Stacey ensured that the selection of work that had been brought along was displayed for everyone to enjoy and critique.
The room was fortunate to have FCSA’s new President, Liz Seward, there to give some very informative and insightful observations and suggestions.
One of the first paintings displayed was a landscape. The artist felt it lacked something. Liz suggested that sometimes a very small touch of red paint in a predominantly green painting can make it pop.
Could this little winter scene be helped with a slightly stronger sky perhaps?
At times it might be a question of contemplating different ways of presenting a painting, whether the use of a wider mount might promote the image better or a larger frame perhaps? A small painting will often benefit from a wide mount or a large frame to set it off. Although it was agreed that perhaps this little rustic frame suited the subject matter.
Everyone contemplated this abstract work that one member had brought in. It was interesting the difference that was made by changing it from a portrait to a landscape painting. It was generally thought that the landscape version made the composition became more eye-appealing.
A new member brought in this delightful little painting of a cockapoo. People sympathised with the difficulty of painting curly fur and it was suggested that darkening the back leg would help to give the image more depth.
There were several portraits on display demonstrating different techniques. This one the artist had been keen to try a colourful splatter. It was suggested that using a fan paintbrush produces a very successful random splatter.
One member had been to an ‘Icons’ workshop with Jamel Akib and produced this ‘Marilyn’ painting. Although the background is a striking colour it is not the background technique that Jamel had demonstrated.
The human face is endlessly fascinating and this was another portrait for consideration. It was felt the predominance of the dark clothing around the neck detracted from the subtle face colouring.
Everyone appreciated this little painting entitled “Summer”. It turns out that it was one of four seasons but apparently “Winter” was bought and this created a bit of a hole in the series! Everyone admired the summer atmosphere and especially appreciated the shadows of the garden furniture.
Capturing a particular weather phenomenon can be elusive. The artist of this woodland winter landscape wanted to depict the misty sunshine in this scene but she felt it continued to elude her. Nonetheless, the room felt it was a successful painting if not exactly what the artist was aiming to paint.
A very different approach was the one taken by this artist who achieved a remarkably misty look to this abstract painting that is vaguely reminiscent of Bridget Riley’s optical patterns.
A leopard peering out from behind a tree was painted on a spiral pad of paper. It was thought that a good size mount and frame would help do justice to this little watercolour.
A dramatic owl in flight was painted with water-soluble oils. The artist liked the fact that these mixed and combined in interesting ways in the background. It was suggested that the owl could perhaps be made whiter to help it sand out from the yellow in the background.
The above is only about half the paintings that were brought for everyone to contemplate and enjoy. The variety of subject, medium and technique produced an entertaining, thought-provoking and informative evening for everyone present. The last painting to be put on the easel was wonderfully unusual as can be seen. Everyone admired the depth of colour and perspective achieved here.